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Updated: June 27, 2025
A forlorn façade The church of the Medici Cosimo's parents' tomb Donatello's cantoria and pulpits Brunelleschi's sacristy Donatello again The palace of the dead Grand Dukes Costly intarsia Michelangelo's sacristy A weary Titan's life The victim of capricious pontiffs The Medici tombs Mementi mori The Casa Buonarroti Brunelleschi's cloisters A model library.
I should like to know if you have ever seen finer work than our Giotto's tower, or any cupola that would not look a mere mushroom by the side of Brunelleschi's there, or any marbles finer or more cunningly wrought than these that our Signoria got from far-off quarries, at a price that would buy a dukedom. Come, now, have you ever seen anything to equal them?"
He was overweighted with ill-assimilated erudition; and all the less desirable licenses of Brunelleschi's school, especially in the abuse of square recesses, he adopted without hesitation.
Perhaps the sense of discomfort and poverty which came over me the day I visited his rooms was the chief reason why I never ventured to take the final step. He paced the carpetless floor and held forth interminably upon Brunelleschi's cupola. He sketched its form in the air with his hands, and all the time I was feeling in imagination their touch upon my head.
The doors, from Brunelleschi's own hand, in a doorway perfect in scale, are noble and worthy. The chapel itself I find too severe and a little fretted by its della Robbias and the multiplicity of circles.
The Renaissance, tainted though it was by worldliness, found still its inspiration in sacred themes, and recorded its beginning and its end in two mighty religious monuments: Brunelleschi's and Michael Angelo's domical churches, "wrought in a sad sincerity" by deeply religious men.
In 1401 the specimens were ready, and after much deliberation as to which was the better, Ghiberti's or Brunelleschi's assisted, some say, by Brunelleschi's own advice in favour of his rival the award was given to Ghiberti, and he was instructed to proceed with his task; while Brunelleschi, as we have seen, being a man of determined ambition, left for Rome to study architecture, having made up his mind to be second to no one in whichever of the arts and crafts he decided to pursue.
The only colours are the white of the walls and the brown of the pillars and windows; the dome was to have been painted, but it fortunately escaped. The contrast between Michelangelo's dome and Brunelleschi's is complete Brunelleschi's so suave and gentle in its rise, with its grey lines to help the eye, and this soaring so boldly to its lantern, with its rigid device of dwindling squares.
Giotto's campanile, Brunelleschi's cupola, and Orcagna's church of Orsammichele, in spite of their undoubted and authentic originality, are placed where he had planned. In 1294 the Florentines determined to rebuild their mother-church upon a scale of unexampled grandeur.
It is called Brunelleschi's masterpiece, but I prefer both the Badia of Fiesole and the Old Sacristy at S. Lorenzo, and I remember with more pleasure the beautiful doorway leading from the Arnolfo cloisters to the Brunelleschi cloisters, which probably is his too. The della Robbia reliefs, once one can forgive them for being here, are worth study.
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